BOSTONSYMPHONYORCHESTRA
FOUNDED IN 1881 BYHENRY LEE HIGGINSON
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SIXTY-SEVENTH SEASON1947-1948
Carnegie Hall, New York
VICTOR RED SEAL RECORDSBoston Symphony OrchestraSERGE KOUSSEVITZKY, Music Director
Bach, C. P. E Concerto for Orchestra in D majorBach, J. S Brandenburg Concertos Nos. 2, 3, 4, and 5
Suite Nos. 2 and 3Beethoven Symphonies Nos. 2 and 8 ; Missa Solemnis
Berlioz . . Symphony, "Harold in Italy" (Primrose)Three Pieces, "Damnation of Faust", Overture, "TheRoman Carnival"
Brahms Symphonies Nos. 3, 4Violin Concerto (Heifetz)
Copland '.'. "El Sal6n Mexico," "Appalachian Spring," "A Lin-coln Portrait." (Speaker: Melvyn Douglas)
Debussy "The Afternoon of a Faun""La Mer," Sarabande
Faure "Pelleas et Melisande," Suite
Foote Suite for Strings
Grieg "The Last Spring"
Handel Larghetto (Concerto No. 12), Air from "Semele"(Dorothy Maynor)
Harris Symphony No. 3
Haydn Symphonies Nos. 94 ("Surprise") ; 102 (B-flat)
Khatchatourian Piano Concerto ( Soloist : William Kapell)
Liadov "The Enchanted Lake"Liszt . . . Mephisto WaltzMendelssohn Symphony No. 4 ("Italian")
Moussorgsky "Pictures at an Exhibition"Prelude to "Khovanstchina"
Mozart Symphonies in A major (201) ; E-flat (184) ; C major(388), Air of Pamina, from "The Magic Flute"(Dorothy Maynor)
Piston . . . Prelude and Allegro for Organ and Strings (E. PowerBiggs)
Prokofieff Classical Symphony ; Violin Concerto No. 2 (Heifetz) ;
"Lieutenant Kije," Suite ; "Love for Three Oranges,"Scherzo and March ; "Peter and the Wolf" ; "Romeoand Juliet," Suite ; Symphony No. 5
Rachmaninoff "Isle of the Dead" ; "Vocalise"
Havel "Daphnis and ChloS," Suite No. 2 (new recording),Pavane
Rimsky-Korsakov "The Battle of Kerjenetz" ; DubinushkaShostakovitch Symphony No. 9
Schubert "Unfinished" Symphony (new recording) ; "Rosa-munde," Ballet Music
Schumann Symphony No. 1 ("Spring")
Sibelius Symphonies Nos. 2 and 5 ; "Pohjola's Daughter"
;
"Tapiola" ; "Maiden with Roses"Strauss, J. .... .... Waltzes : "Voices of Spring," "Vienna Blood"Strauss, R "Also Sprach Zarathustra"
"Till Eulenspiegel's Merry Pranks"Stravinsky Capriccio (Sanroma) ; Song of the Volga Bargemen
(arrangement)Tchaikovsky Symphonies Nos. 4, 5, 6: Waltz (from String
Serenade) ; Overture "Romeo and Juliet"
Thompson "The Testament of Freedom"Vivaldi Concerto Grosso in D minor
Carnegie Hall, New York
Sixty-second Season in New York
SIXTY-SEVENTH SEASON, 1947-1948
Boston Symphony Orchestra
SERGE KOUSSEVITZKY, Music Director
Richard Burgin, Associate Conductor
Concert Bulletin of the
First Concert
WEDNESDAY EVENING, November 12
AND THE
First Matinee
SATURDAY AFTERNOON, November 15
with historical and descriptive notes by
John N. Burk
The TRUSTEES of the
BOSTON SYMPHONY ORCHESTRA, Inc.
Henry B. Cabot . President
Henry B. Sawyer . Vice-President
Richard C. Paine . Treasurer
Philip R. Allen Francis W. HatchJohn Nicholas Brown M. A. De Wolfe HoweAlvan T. Fuller Jacob J. Kaplan
Jerome D. Greene Roger I. Lee
N. Penrose Hallowell Raymond S. Wilkins
Oliver Wolcott
George E. Judd, Manager
[1]
More Permo Needles sold than all other
longlife needles combined
Carnegie Hall
Sixty-second Season in New York
Boston Symphony Orchestra
SERGE KOUSSEVITZKY, Music Director
FIRST EVENING CONCERT
WEDNESDAY, November 12
Program
Bruckner Symphony No. 8 in C minorI. Allegro moderato
II. ScherzoIII. AdagioIV. Feierlich (nicht schnell)
INTERMISSION
Ravel "Ma Mere l'Oye" ("Mother Goose")
,
Five Children's PiecesI. Pavane de la Belle au Bois Dormant
(Pavane of Sleeping Beauty)II. Petit Poucet
(Hop o' My Thumb)III. Laideronette, Imp£ratrice des Pagodes
(Laideronette, Empress of the Pagodas)IV. Les Entretiens de la Belle et de la Bete
(Beauty and the Beast Converse)
V. Le Jardin Feerique(The Fairy Garden)
Ravel "Daphnis et Chloe," Ballet, Suite No. 2
Lever du jour — Pantomime — Danse Generale
BALDWIN PIANO VICTOR RECORDS
The music of these programs is available at the Music Library,
58th Street Branch, The New York Public Library.
The concerts on Tuesday Evenings will be broadcast (9:30 — 10:30)
on the network of the American Broadcasting Company, (WJZ) .
[3]
SYMPHONY NO. 8 in C minor
By Anton Bruckner
Born at Ansfelden, in Upper Austria, September 4, 1825; died at Vienna,
October 11, 1896
This symphony, begun in 1884 and finished in revision in 1890, was first per-
formed by the Philharmonic Orchestra in Vienna, December 18, 1892, Hans Richter
conducting. The Symphony had its first performance in this country by the Boston
Symphony Orchestra, Max Fiedler conductor, March 12, 1909. There was a second
performance "by request" in the following month (April 24) . The symphony was
revived by Serge Koussevitzky on March 22, 1929 and repeated April 22, 1932,
April 16, 1937, February 3, 1939, and October 11, 1946.
It is scored for three flutes, three oboes, three clarinets, three bassoons and contra-
bassoon, eight horns (four interchangeable with tenor and bass tubas) , three
trumpets, three trombones, contrabass tuba, timpani, triangle, cymbals, three harps
and strings.
The symphony is dedicated to "His imperial and royal apostolic Majesty Francis
Joseph I, Emperor of Austria and apostolic King of Hungary."
When he reached the age of sixty, Anton Bruckner's seven sym-
phonies, into which he had put the heart's blood of a lifetime,
had had scant attention — scant performance or none at all. At the
end of 1884 (December 30), the Seventh Symphony was brought out
by Arthur Nikisch at the Leipzig Gewandhaus. The symphony made a
sensation, was performed in German and Austrian cities, and further
afield. At last Bruckner found himself famous. The Brahms camp,
which had heretofore scarcely deigned to notice the satellite of Wag-
ner who presumed to write symphonies of Wagnerian lengths, nowhonored Bruckner with their open hostility.
In the same year of the success of the Seventh (1885) , Bruckner was
at work upon his Eighth (which occupied him in the years 1884-86)
.
He rewrote it in the winter of 1889-90 The Eighth Symphony had
its first performance in Vienna, December 18, 1892, by the Philhar-
monic Orchestra which, until the advent of the Seventh Symphony,
had carefully excluded Bruckner from its programs. Hans Richter
conducted. The success of the symphony was such, even in this Brahms
stronghold, that even the ferocious Edouard Hanslick, while denounc-
ing the music in the terms fully expected of him, was compelled to
acknowledge it a popular triumph. "How was the symphony received?
Boisterous rejoicing, waving of handkerchiefs from those standing,
innumerable recalls, laurel wreaths, etc." Hanslick pointedly strode
from the hall before the Finale. Another critic called it "The master-
piece of the Bruckner style." Hugo Wolf wrote: "The work renders
all criticism futile; the Adagio is absolutely incomparable." And Kal-
beck of the opposite clan, henchman and destined biographer of
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Brahms, was forced to admit Bruckner "a master of instrumentation"
whose symphony was "worthy of its sole position on the program."
The following description of the Eighth Symphony was written byAlfred H. Meyer for the Boston Transcript:
"Bruckner has sometimes been accused of formlessness. In reality nocriticism could be wider of the mark. His handling of form is merelydifferent from that of symphonists like Beethoven. Witness the courseof this Symphony in C minor. A single note, sustained through several
measures, serves as introduction. Basses sing the first theme. It comesin low register, at first hesitatingly, then in full melodic contour. It is
gloomy, forbidding, of the essence of tragedy. There are several repe-
titions, there is some development. Then the second theme emerges.It is in G major, a typically Brucknerian theme. Its first motif com-prises two quarter-notes followed by a triplet of three quarters, a
formula which Bruckner especially liked. This theme is the brightest
in the symphony — a theme of cheerfulness tinged with sentiment.
Bruckner uses it persistently in this first movement, often in inversion.
That is, in descending form, whereas originally it is chiefly ascending.
An important subdivision of the theme occurs considerably later in
horns followed by wood winds over a pizzicato bass in triplets. Cheer-
fulness has now gone out of the mood, which is one of quiet solemnity.
The development treats these themes by every known contrapuntal
and rhythmical device, mainly in the order in which they originally
occur, with a repetition of suggestions of the first theme near the end,
to lead into the recapitulation. The recapitulation is much less a
direct repetition of themes than is the custom of the classical com-posers. The first theme is now introduced in high wood winds, whereat first it entered in low basses. Not only is the register changed, butit is now heard also in inversion. And it comes not in the direct forth-
right form of the beginning, but in a more developed state. Further,
there is less obvious preparation for the second theme, which enters
in a solo trumpet, 'ausdrucksvolV (expressively)
.
"In the symphonies before the Eighth, Bruckner followed his first
movement with an Adagio. In the Eighth and the Ninth a Scherzo
succeeds. The gloom at the end of the first movement is too deep to
permit a slow movement to come next. Rightly or wrongly the appella-
tion 'Der deutsche Michel' has come to be associated with this
Scherzo.* To translate the phrase into 'The German Michael' is to
lose all its significance. It represents the naive stupidity, the ponderousand thick-headed humor which one associates with country bumpkins.The theme of the principal division of the Scherzo well deserves the
* Among the many "interpretations" laid upon the symphony by the analysts, with references
to "The .dSschylean Prometheus," "The all-loving Father of mankind," etc., was the charac-
terization of the Scherzo as typical of "The German Michael." "Der deutsche Michel" is the
plain, honest, lumbering peasant type of Germany. Hanslick saw a breach here in the armorof Brucknerian enthusiasm and wrote : "If a critic had spoken this blasphemy, he would
probably have been stoned to death by Bruckner's disciples ; but the composer himself gave
this name, the German Michael, to the Scherzo, as may be read in black and white in the
program." These were unfair' tactics. Bruckner gave no clue whatsoever in his published
score. ( Ed. )
[6]
label, 'Der deutsche Michel,' for its blunt, awkward, square-toed, or
better, square-headedness. But it is cast against a background of fan-
tastic and almost fairy-like delicacy. It receives due portion of repe-
tition and development. Of the Trio Bruckner is reported to have
said, 'Der deutsche Michel traumt ins Land hinaus' — 'The GermanMichael dreams (or would it be better under the circumstances to
translate "traumt" by "stumbles"?) his way into the country.' Thetheme, at first in the strings, is beautifully lyrical. The Scherzo is then
literally repeated.
"The Adagio is one of the longest slow movements in existence,
and one of the most lovely. One can best understand it by remem-bering that it consists of three separate developments, each more ex-
tended and more climactic than the preceding, of the two themes of
the movement. The first theme is of exceedingly long breath, haunt-
ing, pleading, in character. It is introduced by the first violins. Thesecond theme is sung by 'cellos, as if in answer to the pleading of the
first. It too is wondrously lyric. Near the height of the third develop-
ment, brasses intone the 'Siegfried motiv* from Wagner's 'Ring.' Thecoda is given to the first theme.
"The Finale is grandiose, a culmination in the truest sense. Thefigure with which it begins (suggestive of galloping horses) continues
throughout the long, warlike first theme. A second theme is in part
lyric, in part choral-like and churchly in mood. The development is
exceedingly complex contrapuntally, with the choral motiv frequently
heard throughout. The recapitulation makes a powerful entry withthe first theme, while the second enters as a fugato. The main climax
of the whole work comes in the coda, which is begun by trombonesproclaiming the first theme of the Symphony against the trumpetswith the theme of the Scherzo, and ends at the last with a combinationof the main themes of the four different movements in a triumphalC major."
[copyrighted]
"MA M£RE L'OYE," 5 PIECES ENFANTINES("Mother Goose," Five Children's Pieces)
By Maurice RavelBorn at Giboure, Basses-Pyrenees, March 7, 1875; died in Paris, December 28, 1937
This suite, in its orchestral form, was first performed at the Theatre des Arts,
in Paris, on January 28, 1912.
The first performance of the orchestral suite in this country was at a concert of
the New York Symphony Society, Walter Damrosch, conductor, in Aeolian Hall,New York, November 8, 1912. The first performance at these concerts was onDecember 26, 1913 (Dr. Muck, conductor) .
The orchestration follows: two flutes and piccolo, two oboes and English horn,two clarinets, two bassoons and contra-bassoon, two horns, timpani, bass drum,cymbals, triangle, tam-tam, jeu de timbres (a clavier) , xylophone, celesta, harp, andstrings.
The French conception of "Mother Goose," as this suite attests, has
nothing in common with Anglo-Saxon associations of childhood
jingles. Ravel may never have heard of Mrs. Goose of Boston, Mass.,
[7]
or of the blithe verses which she sang to her small grandson, andwhich her son-in-law, Thomas Fleet (as gossips have said, in despera-
tion of her constant, raucous chanting) published as "Songs for the
Nursery, or Mother Goose's Melodies for Children: printed by T.Fleet at his Printing House, Pudding Lane, 1719, Price, two coppers."
Ravel's direct and acknowledged source is Charles Perrault, who pub-
lished his "Contes de ma mere I'oye"* in 1697, under the name of his
infant son, Perrault d'Armandcourt. These tales of "My Mother, the
Goose" are eighteen in number, most of them of still earlier origin,
and otherwise familiar as "Cinderelle," "Red Riding Hood," "Puss in
Boots," etc.
Ravel first wrote these little pieces in 1908, as a suite for piano duet,
for his small friends Mimie and Jean Godebski, to whom they were
duly dedicated on publication in 1910. They were publicly performed
on April 20 of that year at a concert of the Sociite' Musicale Inde-
pendante, at the Salle Gaveau, Paris. The pianists were Christine
Verger, aged six, and Germaine Durany, aged ten — one may assume,
in proper pigtails and pinafores.
The composer made a little ballet out of the suite for performance
at the Theatre des Arts, Paris, January 28, 1912. In addition to the
movements of the present suite, there was an introductory "Danse
rouet, et scene." Following the five tableaux there came, as an apoth-
eosis, "Le Jardin Feerique." The printed cast included, besides the
characters named in the titles, a Prince Charming, Countess d'Aulnoy's
"Green Serpent" in person, various royal attendants, six brothers of
Tom Thumb, three birds, three little Negroes, and Love.
The following description of the pieces was written by Philip Hale:
I. Pavane of the Sleeping Beauty. Lent, A minor, 4-4. This move-
ment is only twenty measures long. It is based on the opening phrase
for flute, horns, and violas.
II. "Hop o' my Thumb/' Ravel has quoted in the score this pas-
sage from Perrault's tale: "He believed that he would easily find his
path by the means of his bread crumbs which he had scattered wher-
ever he had passed; but he was very much surprised when he could
not find a single crumb; the birds had come and eaten everything up."
III. "Laideronnette, Empress of the Pagodas." The French give
the name "pagode" to a little grotesque figure with a movable head,
and thus extend the meaning, which was also found in English for
pagoda, "an idol or image." This latter use of the word is now obso-
lete in the English language. A "laideron" is an ugly young girl or
young woman. There is this quotation from "Serpentin Vert" by the
* "The name was quoted by the satirist Regnier, more than a century before," says the
Century Dictionary. "Queen Goosefoot (Reine P6dance), or Bertha with the great foot, or
goose-foot, appears as synonymous with Mother Goose in French tales. The second day of the
year is her festival, and is kept as a children's holiday."
[8]
Countess Marie Catherine d'Aulnoy (about 1655-1705) who wrote
romances and also fairy tales in imitation of Perrault. "She undressed
herself and went into the bath. The pagodes and pagodines began to
sing and play on instruments; some had the oboes made of walnut
shells; some had violas made of almond shells; for they were obliged to
proportion the instruments to their figure." Laideronnette in the story,
the daughter of a king and queen, was cursed in her cradle by Mago-
tine, a wicked fairy, with the curse of the most horrible ugliness.
When the princess grew up, she asked that she might dwell far away
in a castle where no one could see her. In the forest near by she met
a huge green serpent, who told her that he was once handsomer than
she was. Laideronnette had many adventures. In a little boat, guarded
by the serpent, she went out to sea, and was wrecked on the coast of
a land inhabited by pagodes, a little folk whose bodies were formed
from porcelain, crystal, diamonds, emeralds, etc. The ruler was an un-
seen monarch, — the green snake who also had been enchanted by
Magotine. Finally, he was changed into human shape, and he married
Laideronnette, whose beauty was restored.
IV. "The Conversations of Beauty and the Beast." Quotations from
Mme. Leprince de Beaumont are given;
"When I think how good-hearted you are, you do not seem to me so ugly."
"Yes, I have, indeed, a kind heart; but I am a monster!"
"There are many men more monstrous than you."
"If I had wit, I would invent a fine compliment to thank you, but I am only a
beast."
"Beauty, will you be my wife?"
"No, Beast!"
"I die content since I have the pleasure of seeing you again."
"No, my dear Beast, you shall not die; you shall live to be my husband!"
The Beast had disappeared, and she saw at her feet only a prince
more beautiful than Love, who thanked her for having broken his
enchantment.
Mouvement de Valse tres modere, F major, 3-4. This movementis based chiefly on a melody for the clarinet, which begins in thesecond measure. There is a middle section with a subject suggestingthe Beast and given to the double bassoon. The two subjects are com-bined. At the end, a solo violin plays the theme of the middle section.
V. "The Fairy Garden." Lent et grave, C major, 3-4. The move-ment is based on the opening theme for strings.
[copyrighted]
[9]
"DAPHN1S ET CHLOt" - Ballet in One Act - OrchestralFragments
Second Series: "Daybreak," "Pantomime," "General Dance"By Maurice Ravel
Born at Ciboure, Basses-Pyrenees, March 7, 1875; died in Paris, December 28, 1937
The ballet "Daphnis et Chloe" was completed in 1912*, and first produced June 8,
1912 by Diaghileff's Ballet Russe, at the Chdtelet in Paris, Pierre Monteux conduct-ing. Of the two orchestral suites drawn from the ballet, the second had its first
performance at the concerts of the Boston Symphony Orchestra, December 14, 1917(Dr. Karl Muck conducting).
The Second Suite is scored for two flutes, bass flute and piccolo, two oboesand English horn, two clarinets in B-flat, clarinet in E-flat and bass clarinet, threebassoons and contra-bassoon, four horns, four trumpets, three trombones and tuba,timpani, bass drum, two side drums, cymbals, triangle, tambourine, castanets,celesta, glockenspiel, two harps and strings. A wordless mixed chorus is writtenin the score, but is optional and can be replaced by instruments.
In his autobiographical sketch of 1928, Ravel described his "Daphnis
et Chloe" as "a choreographic symphony in three parts, commis-
sioned from me by the director of the company of the Ballet Russe:
M. Serge de Diaghileff. The plot was by Michel Fokine, at that time
choreographer of the celebrated troupe. My intention in writing it was
to compose a vast musical fresco, less scrupulous as to archaism than
faithful to the Greece of my dreams, which inclined readily enough
to what French artists of the late eighteenth century have imagined
and depicted.
"The work is constructed symphonically according to a strict tonal
plan by the method of a few motifs, the development of which achieves
a symphonic homogeneity of style.
"Sketched in 1907, 'Daphnis' was several times subjected to revision
—notably the finale."
There were late revisions. If Ravel's date of 1907I is indeed correct,
"Daphnis et Chloe" was five years in the making and must indeed
have many times been "remis surle metier" as Ravel expressed it, before
the perfectionist was sufficiently content with his handiwork to release
it for dancing and for printing.
Diaghileff, deflecting the principal creative musicians of the day
(Stravinsky, Strauss, Debussy) to his purposes, could not quite makeballet composers out of them, and the same may be said of Ravel.
Nijinsky and Karsavina danced the title parts in the original pro-
duction. The scenario was by Fokine; the designer of scenery and
costumes was Leon Bakst. An indifferent success was reported, at-
tributable in part to a gathering storm of dissension between Fokine
and Diaghileff. There was considerable dissension within the Ballet
Russe at the time. Disagreement seems to have centered on the prob-
* This according to Serge Lifar, who was a dancer in the Ballet Russe at that time andwho states that "Daphnis et Chlo4" was not put on in 1911, "because Ravel was not yetready. At last, in 1912 he sent the orchestral score to Diaghileff."
—
"La Revue Musicale,"December, 1938.
[10]
lem of a danced presentation of subjects from Ancient Greece. Nijinski,
even while miming the character of Daphnis, was executing, accord-
ing to novel ideas of his own, "L'Apres-Midi d'un Faune." It can be
well imagined that, in the presentation of "Daphnis et Chloe" Nijinski
and Fokine found it hard to work together. One can further surmise,
from Ravel's later allusion to "the Greece of his dreams," a "late
eighteenth century" Greece would not have contributed toward single-
mindedness in the rehearsals of "Daphnis." Those rehearsals were
many and extended to the very morning of the first performance. They
took place, according to Serge Lifar, "under a storm cloud. The corps
de ballet ran afoul of the 5-4 rhythm in the finale, and counted it out
by repeating the syllables 'Ser-ge-Dia-ghi-leff/ 'Ser-ge-Dia-ghi-lefF."
When the season ended, there duly followed the break between Fokine
and Diaghileff. As for the music itself, it has found fitful usefulness
in the theatre, but enjoys a lusty survival in the concert hall.
The story comes from a document of ancient Greece, and is at-
tributed to a sophist, Longus, who lived in the second or third cen-
tury a.d. It is the oldest of countless tales of the love, tribulation anc"
final union of a shepherd and shepherdess. The first version of
"Daphnis and Chloe" to appear in print was a French translation by
Amyot, which was printed in 1559. The first English translation was
made by Angell Dave, printed in 1587. A translation by George Thorn-
ley (1657) is in current print. Thornley in a preface "to the criticall
reader," commends the author as "a most sweet and pleasant writer,"
and calls the tale "a Perpetual Oblation to Love; An Everlasting Ana-
thema, Sacred to Pan, and the Nymphs; and, A Delightful Possession
even for all."
T The date is surprising. Diaghileff 's Ballet had its first Paris season in 1909 ; 1909, andsometimes 1910, are given as that in which Ravel began "Daphnis et Chloe." Roland-Manuelthinks that Ravel made a "mistake of two years" in naming 1907, which again is surprising,
since Roland-Manuel originally wrote the autobiographical sketch at Ravel's dictation. In
190? Diaghileff was in Paris and probably had met Ravel, but there was no plan as yet for a
ballet season in Paris. It is, of course, possible that Ravel's first sketches for "Daphnis et
Chloe"" were purely symphonic in intent, a fact he might not have been quick to admit after
the vicissitudes of the piece in the theatre.
[copyrighted]
NEW ENGLAND CONSERVATORY OF MUSICHarrison Kedler, Director Malcolm H. Holmes, Dean
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Boston Symphony Orchestra[Sixty-seventh Season, 1947-1948]
SERGE KOUSSEVITZKY, Music Director
RICHARD BURGIN, Associate Conductor
Violins
Richard Burgin,Concert-master
Alfred Krips
Gaston ElcusRolland Tapley
Norbert LaugaGeorge Zazofsky
Paul CherkasskyHarry DubbsVladimir ResnikoffJoseph Leibovici
Einar HansenDaniel Eisler
Norman CarolCarlos Pinfield
Paul FederovskyHarry Dickson
Minot BealeFrank Zecchino
Clarence KnudsonPierre Mayer
Manuel ZungSamuel DiamondVictor ManusevitchJames NagyLeon GorodetzkyRaphael Del Sordo
Melvin BryantJohn Murray
Lloyd Stonestreet
Henri Erkelens
Saverio MessinaHerman Silberman
Stanley BensonHubert Sauvlet
Basses
Georges MoleuxWillis Page
Ludwig JuhtIrving Frankel
Henry GreenbergHenry Portnoi
Gaston DufresneHenri Girard
Henry FreemanJohn Barwicki
PERSONNELViolas
Joseph de Pasquale
Jean Cauhape"
Georges FourelEugen Lehner
Albert BernardEmil Kornsand
George HumphreyLouis Artieres
Charles Van WynbergenHans Werner
Jerome LipsonSiegfried Gerhardt
Violoncellos
Jean Bedetti
Alfred Zighera
Jacobus LangendoenMischa Nieland
Hippolyte DroeghmansKarl Zeise
Josef ZimblerBernard Parronchi
Enrico Fabrizio
Leon Marjollet
Flutes
Georges LaurentJames PappoutsakisPhillip Kaplan
Piccolo
George Madsen
Oboes
John HolmesJean Devergie
Joseph Lukatsky
English HornLouis Speyer
Clarinets
Victor Polatschek
Manuel Valerio
Pasquale Cardillo
Bass Clarinet
Rosario Mazzeo
Bassoons
Raymond Allard
Ernst PanenkaRalph Masters
Contra-Bassoon
Boaz Piller
Horns
Willem Valkenier
James Stagliano
Principals
Walter MacdonaldHarold MeekPaul KeaneyOsbourne McConathyHarry ShapiroWilliam Gebhardt
Trumpets
Georges MagerRoger Voisin
Principals
Marcel Lafosse
Harry HerforthRen6 Voisin
TrombonesJacob RaichmanLucien Hansotte
John Coffey
Josef Orosz
TubaVinal Smith
HarpsBernard Zighera
Elford Caughey
TimpaniRoman Szulc
Max Polster
PercussionSimon SternburgCharles SmithEmil Arcieri
PianoLukas Foss
LibrarianLeslie Rogers
Carnegie Hall
Boston Symphony Orchestra
SERGE KOUSSEVITZKY, Music Directorm
FIRST AFTERNOON CONCERTSATURDAY, November 15
Program
William Schuman Symphony No. 3(In two parts, and four movements)
I. a. Passacaglia b. FugueII. c. Chorale d. Toccata
Mendelssohn Concerto No. i, in G minor for
piano and orchestra, Op. 25Molto allegro con fuoco
Andante
Presto: Molto allegro e vivace
INTERMISSION
Brahms Symphony No. 4 in E minor, Op. 98I. Allegro non troppo
II. Andante moderato
III. Allegro giocoso
IV. Allegro energico e passionato
SOLOIST
LUKAS FOSS
BALDWIN PIANO VICTOR RECORDS
The music of these programs is available at the Music Library,58th Street Branch, The New York Public Library.
The concerts on Tuesday Evenings will be broadcast (9:30 — 10:30)on the network of the American Broadcasting Company, (WJZ)
.
[15]
SYMPHONY NO. 3
By William Howard SchumanBorn in New York City, August 4, 1910
This symphony was composed in January, 1941, and first performed at these
concerts on October 17 of that year. On the title page is inscribed, "This work is
for Serge Koussevitzky." 4
The Third Symphony took the first award of the Critics' Circle of New York for
1942. The Symphony has since been performed by the orchestras of Detroit (under
Karl Krueger) , San Francisco (Pierre Monteux) , New York City Symphony(Leonard Bernstein) , Los Angeles Philharmonic (Alfred Wallenstein) , Janssen
Symphony (Werner Janssen) , the London BBC (Sir Adrian Boult) . Paul Kletzki
presented it in Copenhagen and Paris. There has been a recent performance in
Berlin.
The orchestration calls for two flutes and piccolo, three oboes and English horn,
E-flat clarinet, two B-flat clarinets and bass clarinet, two bassoons, four horns, four
trumpets, four trombones and tuba, timpani, snare drum, bass drum, cymbals,
xylophone, and strings. Additional instruments are listed as optional but not
obligatory: "To obtain the best results, they are most desirable." They are a third
flute and second piccolo, a third oboe, a third bassoon and contra-bassoon, a quartet
of horns, and a piano.
William Schuman's First Symphony, for chamber orchestra, was
composed in 1935. His Second Symphony, in one movement,
was performed at the Boston Symphony concerts, February 17, 1939.
He completed his Fourth Symphony in 1942. The Symphony for
Strings, which bears no number, had its first performance by this
orchestra November 12, 1943. The Symphony No. 3 is in two parts,
with two connected movements in each.
Part 1. The Passacaglia theme (in triple beat) is given by the
violas, followed in turn on rising semi-tones by the string sections and
then the winds. This development is in strict four-part canon. As the
strings complete the canonic line, they reinforce (pizzicato) the wind
instruments. The variation which follows is a paraphrase of the theme
by trumpets and trombones against a string background of consistent
harmonic and rhythmic texture. A transition, whose melodic material
refers to the theme, leads to the next variation. Here the wood winds
have melodic variations against a harmonic background with rhythms
related to a fragment of the theme. Another transition leads to the
final two variations. The first of these is a long melodic version of the
theme (violins) which continues with the canonic material of the first
part of the movement. The background consists of flowing figures in
the lower strings. The dynamics are at first soft and the note durations
long. As the dynamics increase, the note durations become faster and
an agitated section is reached. A climax leads to the final variation.
Here the strings set a characteristic harmonic and rhythmic back-
[16]
ground. The four trombones give the final summary of the Passacaglia
theme. This leads without pause into the Fugue.
The subject (Vigoroso — in common time) is related in pitch design
to the Passacaglia theme, but is of a very different rhythmic nature. It
is stated in turn by the horns (supported pizzicato by the violas and
'cellos) , violins, violas and 'cellos, tuba and basses, wood winds, trom-
bones, and finally trumpets. Save for the horns there is a three and
one-half bar codetta after each entrance. The opening section of the
Fugue relates to the same section of the Passacaglia. The entrances are
on rising semi-tones from B-flat through E; the Passacaglia entrances
were from E through B-flat. The development is also canonic and in
the Fugue runs into seven parts. At the conclusion of this section, the
four trumpets have an extended episode leading to a transition in the
wood winds and horns to the first variation on the Fugue subject. This
is stated by the English horn unaccompanied. The extended develop-
ments which follow are for wood winds and strings only. A climax is
reached with the entrance of the timpani soon joined by the strings
in setting a characteristic rhythmic background against the second
variation of the Fugue subject. After development of this variation,
the final section begins. In it there are three elements: an organ point
around E-flat (related to the preceding variation) , a third variation of
the subject in dialogue form between wood winds and strings, and a
melodic dialogue between trombones and horns. There is a coda
wherein the Fugue subject in an altered augmentation is set against
the first variation. Continuation of these lines and the introduction of
related materials brings Part One to a close.
Part 2. The Chorale (Andantino — in common time) opens with
an introduction in the violas and 'cellos divided. The Chorale melody
is then given by the solo trumpet. It is a variation of the Passacaglia
theme. The movement is concerned with various treatments and ex-
tensions of this Chorale. The last movement follows without pause.
The Toccata, as the name implies, is a display piece. The rhythm
for the principal theme is first given by the snare drum. The opening
developments, as in Part One, are canonic. A transition leads into
a cadenza-like section for all the strings. The closing sections of the
work include a rhythmic treatment of the Chorale, developments of
the Toccata theme and new material.
The composer attended the public schools in New York, and gradu-
ated with Bachelor of Science and Master of Arts degrees from
Columbia University. He was the pupil of Max Persin in harmony, of
Charles Haubiel in counterpoint, and studied composition in a moregeneral sense with Roy Harris. He attended the Mozarteum Academy,
in Salzburg, Austria. He taught for several years at Sarah Lawrence
[17]
College, in Bronxville, New York, and is interested in problems of
progressive education in relation to the arts. He held a Guggenheimfellowship (1939-40, 1940-41)
.
He has served as editor for G. Schirmer, Inc., and in 1945 became
President of the Julliard School of Music.
Schuman's American Festival Overture, composed in the summerof 1939 for special concerts of American music by the Boston Sym-
phony Orchestra, was first performed at one of these concerts in
Symphony Hall on October 6, 1939. The music of William Schumanwas first performed by a major orchestra when his Second Symphonywas introduced in Boston.
His "Prayer in Time of War" was first performed by this orchestra
October 6, 1944, and his Symphony for Strings November 12, 1943.
Mr. Schuman has also composed a William Billings Overture (1943)
,
"Side Show for Orchestra" (1944), and a Violin Concerto (1946).
His Secular Cantata No. 2, "A Free Song," for chorus and orchestra
(which took the First Pulitzer Music Prize for 1943), a setting of
Walt Whitman, was performed by this orchestra on March 26, 1943.
He has also written for chorus with orchestra the First Secular Cantata,
"This is Our Time," and a Prologue; choral music a cappella — a
Choral £tude, Prelude, and "Truth Shall Deliver — A Ballad of GoodAdvice"; for chorus with piano accompaniment — "Requiescat," and
"Holiday Song." The Ballet "Undertow" was produced by the Ballet
Theatre in 1945.
Chamber music in addition to the First Symphony mentioned above,
insludes a Concerto for Piano and small orchestra, a quartetino for
Four Bassoons, and three string quartets.
Paul Rosenfeld wrote of William Schuman for The Musical
Quarterly in July, 1939, on the basis of the music he had heard: "Aprevious season had brought to light his very shapely Second String
Quartet and revealed among other facts the modernity of his style.
It is entirely a melodic one. The harmonic consistency is unusually
distinguished; the counterpoint is very openly spaced. The Quartet's
melodic lines were noticeably long: the middle movement indeed is a
piece of beautifully sustained song pervaded by a sensuousness not in-
variably to be found in modern music. The sonorities are fresh and
singularly crystalline. Schuman once had frequented Tin-Pan Alley;
there, perhaps, he had developed the virtuosity apparent in his in-
strumental style. Later he began loathing what he was doing there,
loathing what the others were doing, the others he was obliged contin-
ually to meet. Then he heard 'Till EulenspiegeF and the Symphony
of Franck. Besides, novel sounds haunting his imagination were
prompting him to serious work. And Tin-Pan Alley suddenly became
a thing of the past.
[18]
"In the Second Symphony his structural style has energy and gran-
deur. The effects are large and ample, the feeling is elevated. Again
the instrumentation is strikingly fresh, plainly that of a musician with
a new sonority. The raucous and sensuous sound reflects the world of
mechanism and industrial techniques; its closer parallels are in Varese
and Chavez; but it is clear and firm in its own way. One hears it in
the lowing, groaning ox-horn-like onset of the piece and the jagged
principal subject. The Symphony testifies to the presence of some-
thing primitive in the composer's feeling, a fierceness and an earthi-
ness. Indeed, a fixed and almost murderous vehemence seems to ex-
press itself in the ostinato of the initial movement. And the feeling
plainly is unified. . . . While the ostinato of the opening movement has
an almost painful insistence, it differs thoroughly from that of Rovel's
Bolero; there is continual melodic contrast and development. Thewarm, very slow second movement again has the unmistakable accent
of passion and achieves a small climax. And while there seem to be a
couple of repetitious measures in the finale, the movement builds upstrongly to the end. One has the sense of some force, originally fixed
and deadly, which is subjected to a new incarnation, and finally moves
joyously unified and with a gesture of embrace out towards life."
[copyrighted]
CONCERTO NO. 1, in G minor, for Pianoforte and
Orchestra, Op. 25
By Felix Mendelssohn-Bartholdy
Born in Hamburg, February 3, 1809; died in Leipzig, November 4, 1847
Completed in 1831, this Concerto was first performed at the Odeonsaal in Munich,
October 17, 1831, when the composer was the soloist. He also played the solo part
in Paris, April 27, 1832, and with the Philharmonic Society in London May 28 of
the same year. The Concerto had what was probably its first performance in
America by the Philharmonic Society of New York, January 17, 1846 (soloist,
H. C. Timm) . The first Boston performance was by the Boston Musical FundSociety, December 9, 1848 (soloist, J. L. Hatton) . The first performance by the
Boston Symphony Orchestra was in Milwaukee, May 5, 1887, Wilhelm Gericke
conducting, and Adele Aus der Ohe performing as soloist. The only Boston per-
formances by this orchestra were on February 14-15, 1913, Karl Muck conducting
and Max Pauer playing the solo part. The Concerto is scored for two flutes, two
oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, and strings,
and is dedicated to Delphine von Schauroth.
Mendelssohn, to whom, as a pianist in high demand, concertos of
his own were continually called for, wrote two of them, the
First in 1830-1831, the productive period of the Hebrides Overture
[19]
and the Italian Symphony; the Second (in D minor) in 1837. Thefirst sketches for the G minor Concerto were made in Rome, in 1830,
where Mendelssohn was seeing the sights, playing, and leading a
social life. In that year, his twenty-first, he met Delphine vonSchauroth, who, at sixteen, was outgrowing the status of an infant
prodigy. It was said that Mendelssohn's admiration of her was morethan musical. In any case, he dedicated his First Concerto to her.
The opening movement, closer than its successors to orthodox form,
leads, with a solo recitative, into the Andante, in E major, based
upon a single subject. The final presto is a rondo which does not
follow the prescribed rules as to episodes and a second theme, but
maintains its character by the regular recurrence of the principal
subject.
[copyrighted]
s&Jl
CONSTANTIN HOUNTASISVIOLINS
APPRAISALS • EXPERT REPAIRING • ACCESSORIES
240 HUNTINGTON AVENUEOpposite Symphony Hall Ken. 9285
WADSWORTH PROVANDIETEACHER OF SINGING
Symphony Chambers246 Huntington Avenue Boston, Massachusetts
Accredited in the art of singing by Jean de Reszke, Paris, and inmise en scene by Roberto Villani, Milan
Studio: Kenmore 9495 Residence: Maiden 6190
JULES WOLFFERSPIANIST - TEACHER
256 HUNTINGTON AVENUE BOSTON
[20]
SYMPHONY IN E MINOR, NO. 4, Op. 98
By Johannes Brahms
Born at Hamburg, May 7, 1833; died at Vienna, April 3, 1897
Completed in 1885, the fourth Symphony had its first performance at Meiningen,
October 25, 1885, under the direction of the composer.
The orchestration includes two flutes and piccolo, two oboes, two clarinets, two
bassoons and contra-bassoon, four horns, two trumpets, three trombones, timpani,
triangle and strings.
The Fourth Symphony was announced for its first performance in
America by the Boston Symphony Orchestra, November 26, 1886.
Wilhelm Gericke duly conducted the symphony on Friday, November
25, but he was not satisfied with the performance, and withdrew the
score for further preparation, substituting the First Symphony by
Robert Schumann. Since the Friday performance was considered a
"public rehearsal," although, according to a newspaper account, Mr.
Gericke did not at any point stop the orchestra, this was not called
a "first performance," and the honor went to the Symphony Society
of New York on December 11, Walter Damrosch conducting. TheBoston performance took place on December 23.
Other orchestras, first taking this symphony in hand, seem to have
had trouble with it. Brahms anticipated this, and he welcomed the
opportunity of a first performance at Meiningen, where with the
Duke's Orchestra the piece could be rehearsed repeatedly and at
leisure under the composer's own appraising eye. He wrote to Hans
von Biilow, who was the conductor of the Meiningen Hofkapelle:
"I have often, while writing, had a pleasing vision of rehearsing it
with you in a nice leisurely way — a vision that I still have, although
I wonder if it will ever have any other audience! I rather fear it has
been influenced by this climate, where the cherries never ripen. Youwould never touch them."*
This remark reflects a doubt about what effect the new symphonymight have upon the musical world. There had been a trial perform-
ance in a two piano arrangement before a gathering of the inner
circle (Ignaz Briill, who played the duet arrangement with the com-
poser, Hanslick, Dr. Billroth, Hans Richter, C. F. Pohl, Gustav
Dompke, Max Kalbeck) . Some of these had been reticent, some hadshaken their heads sadly over it. "If persons like Billroth, Hanslick,
and you, do not like my music," Brahms wrote to Kalbeck, "whomwill it please?" There were his usual deprecatory jokes which always
accompanied the announcement of a new score to his friends. He* The symphony was composed at Miirzzuschlag in the Styrian Alps. Brahms also wrote to
Frau von Herzogenberg : "You would be able to listen to the first movement with the utmostserenity, I am sure. But I hate to think of doing it anywhere else, where I could not havethese informal, special rehearsals, but hurried ones instead, with the performance forced onme before the orchestra had a notion of the piece."
[21]
called it "a couple of entr'actes," and "a choral work without text."
His misgivings were justified in this case. It is true that Clara Schu-
mann and Elizabet von Herzogenberg, who had been favored with
an advance view of the score, had responded glowingly. But the
musical public was neither so partial, nor so discerning as the ador-
ing Clara and Lisl. The Fourth Symphony was greeted at first with
a certain frigidity which can be put down only as noncomprehension.
The composer was perforce admired and respected. The symphony
was praised — with reservations. It was actually warmly received at
Leipzig, where there was a performance at the Gewandhaus on
February 18, 1886. In Vienna, where the symphony was first heard by
the Philharmonic under Richter, on January 17, it was different.
"Though the symphony was applauded by the public," writes Florence
May, "and praised by all but the inveterately hostile section of the
press, it did not reach the hearts of the Vienna audience in the same
unmistakable manner as its two immediate predecessors, both of which
had made a more striking impression on a first hearing in Austria
than the First Symphony in C minor" (apparently Vienna preferred
major symphonies!)
.
Miss May further relates that at the first performance at Meiningen
the symphony was enthusiastically received, and that the audience
attempted to "obtain a repetition of the third movement." But the
report of another witness, the pianist Frederic Lamond, contradicts
this. He has told us that the concert began at five o'clock on a Sunday
afternoon, and that the symphony was preceded by the Academic
Festival Overture and the Violin Concerto, Adolf Brodsky appearing
as soloist. The composer conducted. "The Symphony," writes Lamond,
"brought little applause." And he goes on to relate an interesting
postlude to this occasion:
"The theater emptied itself; I went to my dressing room behind the
stage, and was about to go home.The members of the orchestra wereputting their instruments away and some had already left whenyoung Richard Strauss [then twenty], the second Kapellmeister in
Meiningen, came running up and called to me: 'Lamond, help mebring the orchestra players together; the Duke wishes to have the
symphony played again for himself alone.' I got hold of the secondhorn player, while Strauss mustered one player after another. Thetheater was dimly lighted and no one had permission to enter the
auditorium. I slipped out on the stage. Through the peek hole in the
curtain I could see the silhouette of Brahms at the conductor's desk,
and about him the intent, deeply absorbed faces of the orchestra
players, who looked ghostly in the dim light. The loge in which the
Duke sat was also in semi-darkness; and now there began for the
second time a performance of the Fourth Symphony!"
"The performance stays vividly in my mind. I have heard con-
summate performances in later years, but never has the overpower-
[22]
ing and masterly finale sounded with such conviction as in the dark-ened empty theater where Brahms, like a mighty conjuror, playedwith the assembled group of musicians for the listening Duke ofMeiningen."
All was not serene between Brahms and Biilow on this memorableSunday, a circumstance which Lamond has not mentioned. AlthoughBiilow had rehearsed the symphony, Brahms took over the baton for
the performance. Biilow, whose outstanding qualities as a conductor
were in complete contrast with ithe clumsiness of the composer, con-
sidered his abilities slighted, and shortly resigned from his post as
Hojkapellmeister at Meiningen. The incident proves the tactlessness
of Brahms and the touchiness of Biilow. Yet Biilow carried the sym-
phony, in that same season, through a "crusading" tour of Germany,Holland, and Switzerland.
Florence May has remembered and described another notable per-
formance of this symphony, a decade later, in Vienna, on March 7,
1897, at a Philharmonic concert. Brahms was then a sick man; he hadless than a month to live:
"The fourth symphony had never become a favorite work in Vienna.
Received with reserve on its first performance, it had not since gained
much more from the general public of the city than the respect sure
Carnegie Hall, New York
Boston Symphony Orchestra
SERGE KOUSSEVITZKY, Music Director
Second Pair of Concerts
Wednesday Evening, January I/f.
Saturday Afternoon, January I
J
[23]
to be accorded there to an important work by Brahms. Today, how-
ever, a storm of applause broke out at the end of the first movement,not to be quieted until the composer, coming to the front of the
artist's box in which he was seated, showed himself to the audience.
The demonstration was renewed after the second and the third move-
ments, and an extraordinary scene followed the conclusion of the
work. The applauding, shouting house, its gaze riveted on the figure
standing in the balcony, so familiar and yet in present aspect so
strange, seemed unable to let him go. Tears ran down his cheeks as
he stood there, shrunken in form, with lined countenance, strained
expression, white hair hanging lank; and through the audience there
was a feeling as of a stifled sob, for each knew that they were saying
farewell. Another outburst of applause and yet another; one moreacknowledgment from the master; and Brahms and his Vienna had
parted forever."
Still another interesting tale is told by Miss May about the FourthSymphony, and this refers to the summer of 1885, at Miirzzuschlag,
when it was nearing completion: "Returning one afternoon from a
walk, he [Brahms] found that the house in which he lodged hadcaught fire, and that his friends were busily engaged in bringing his
papers, and amongst ithem the nearly finished manuscript of the newsymphony, into the garden. He immediately set to work to help in
getting the fire under, whilst Frau Fellinger sat out of doors with
either arm outspread on the precious papers piled on each side of her."
There was another moment in the history of the symphony whenthe score might conceivably have been lost. Brahms dispatched the
manuscript to Meiningen in September, 1885, a few days before his
own arrival there. "I remember," so Frederic Lamond has written,
"how Biilow reproached Brahms about it, protesting that so valuable
a manuscript as the symphony had been sent to Meiningen by simple
post without registration!" 'What would have happened if the package had been lost?' asked
Biilow." 'Well. I should have had to compose the symphony again' ('Na,
dann hdtte ich die Sinfonie half noch einmal komponieren miissen') ,
was Brahms' gruff answer."
[copyrighted]
p
[24]
Boston Symphony OrchestraSERGE KOUSSEVITZKY, Music Director
SCHEDULE OF CONCERTS, Season 1947-1948
OCTOBER10-1
1
•14
*21
24-2526*28
BostonBostonBostonProvidenceBostonBostonCambridge
31 -Nov. 1 Boston
NOVEMBER*4
7-8*n12
13
14
15•18
21-22
23#25
28-29
BostonBostonNew HavenNew YorkNew BrunswickBrooklynNew YorkProvidenceBostonBostonCambridgeBoston
DECEMBER*2
3
4
56
78
#9
10
12-13
*i619-20
26-27
28
Pittsburgh
CincinnatiBloomingtonChicagoSouth BendChicagoAnn ArborDetroit
RochesterBostonCambridgeBostonBostonBoston
BostonBostonNew LondonNew YorkWashingtonBrooklynNew YorkHartford
(Fri.-Sat. I)
(Tues. A)(Fri.-Sat. II)
(0(Fri.-Sat. Ill)
(Sun. a)
(0(Fri.-Sat. IV)
(Tues. B)(Fri.-Sat. V)
(1)
(Wed. 1)
(1)
(Sat. 1)
(2)
(Fri.-Sat. VI)(Sun. b)
(2)(Fri.-Sat. VII)
(2)
(Fri.-Sat. VIII)
(3)
(Fri.-Sat. IX)(Fri.-Sat. X)(Sun. c)
(Fri.-Sat. XI)(Fri.-Sat. XII)
(Wed. 2)
(2)
(Sat. 2)
0)
23-24
25*27
3o-3i
BostonBostonBostonBoston
FEBRUARY*3
6-7*io
13-14*i7
18
»9
20
21
*24
27-28
29
MARCH*2
5-6*9
12-13
15
*i6
17
18
19
20*23
25-27*3°
APRIL2-3*6
9-10*i 314
*5
16
17*20
23-24
25*27
30-May 1
Broadcast, ABC,
ProvidenceBostonCambridgeBostonNew HavenNew YorkWhite Plains
BrooklynNew YorkBostonBostonBoston
ProvidenceBostonCambridgeBostonNorthamptonNew HavenNew YorkHunter CollegeBrooklynNew YorkBostonBostonProvidence
BostonCambridgeBostonHartfordNew YorkPhiladelphiaBrooklynNew YorkBostonBostonBostonBostonBoston
(Fri.-Sat. XIII)
(Sun. d)
(Tues. C)(Fri.-Sat. XIV)
(3)(Fri.-Sat. XV)(4)
(Fri.-Sat. XVI)
(2)
(Wed. 3)
(3)
(Sat. 3)(Tues. D.)
(Fri.-Sat. XVII)(Sun. e)
(4)
(Fri.-Sat. XVIII)
(5)(Fri.-Sat. XIX)
(3)
(Wed. 4)
(4)
(Sat. 4)(Tues. E)
(Thurs.-Sat XX)(5)
(Fri.-Sat. XXI)(6)
(Fri.-Sat. XXII)(2)
(Wed. 5)
(5)
(Sat. 5)(Tues. F)
(Fri.-Sat. XXIII)(Sun. f)
(Pension Fund)(Fri.-Sat. XXIV)9 :30-10 :30 E.S.T.
ia^wtrf^4
d&>
by richness oft<me9
effortless action,
responsiveness.
llartttinTHE CHOICE OF GREAT CONDUCTOR
SERGE KOUSSEVITZKY
Serge Koussevitzky—Boston Symphony
—
Baldwin . . . what a trio in the musical cul-
ture of America! His preference for Baldwin
is praise indeed: "A great work ofmusical art
... a truly orchestral tone, round, full and of
magnificent resonance and color! . . . For the
orchestra, as well as for my own use, the
Baldwin is PERFECTION."
We have set aside a Baldwin for you to try.
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THE BALDWIN PIANO COMPANY160 BOYLSTON STREET BOSTON, MASSACHUSETTS
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